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box - 3.3 AIYA improvisations
www.chua.ch/box/3-3

would also turn off AIYA’s sound output. “How does the machine know when the improvisation is over?” a mentor once mused, years before I created AIYA. This switch was an easy answer (for now). _sonic-identity. _extendedness. _representation. _buffers

box - 2. chaosflöte overview
www.chua.ch/box/2

am no longer improvising “alone” when I can occupy the sonic landscape with these loops. Below are some example loop configurations I have used: _extendedness. _sonic-identity. _loops. _tool. _instrument. [1] Previous versions of the instrument also

box - 3.1 aiya overview
www.chua.ch/box/3-1

-entity. _sonic-identity. One must also consider the other side of time: that of communicating the future actions of the improvisation machine. Hoffman highlights the important aspect of anticipation in human-robot interaction, as seen through his

5 - black box fading
www.chua.ch/p/bbf/5

the ZHdK ICST (Institute for Computer Music and Sound Technology) VST Ambisonic plugins. Technically, the signal flow from the human performer to Chaosflöte and improvisation machine can be summarized in the diagram below: _sonic-identity. _buffers. _space

box - 4. black box fading
www.chua.ch/box/4

the ZHdK ICST (Institute for Computer Music and Sound Technology) VST Ambisonic plugins. Technically, the signal flow from the human performer to Chaosflöte and improvisation machine can be summarized in the diagram below: _sonic-identity. _buffers. _space

Developing a Visual Framework for Musical Improvisation Machines: Investigating Impacts on Human-Machine Interaction, Posthuman Identity, and Performance Narrative
www.chua.ch/kug/0

Developing a Visual Framework for Musical Improvisation Machines. Investigating Impacts on Human-Machine Interaction, Posthuman Identity, and Performance Narrative. Melody Chua

aiya meets self
www.chua.ch/p/aiya-meets-self

audiovisual dialogue. The installation creates a space between machine, its creator, and the tensions that exist between the two as they navigate each other as ‘others’ and also as integral parts of each other’s identity and embodiment. In this interactive

bad decisions
www.chua.ch/p/bad-decisions

machine. Three different scenes within the piece reflect different angles, different scenes of the 'identity' of the machine. It is referred to in a partially personified way, but ultimately its formlessness eludes our attempts to describe it. As the

box - 3.7 aiya meets self
www.chua.ch/box/3-7

audiovisual dialogue. The installation creates a space between machine, its creator, and the tensions that exist between the two as they navigate each other as ‘others’ and also as integral parts of each other’s identity and embodiment. In this interactive

2 - Brief History of Machine Improvisation
www.chua.ch/kug/2

). Creating improvisation machines results in us learning more about our tendencies and biases as [improvising] musicians. It is not asking “whether machines exhibit personality or identity, but how personalities and identities become articulated through sonic